Advertising

Advertising is meant to persuade, and the themes and techniques of that persuasion reveal a part of the nation's history. The Museum has preserved advertising campaigns for several familiar companies, such as Marlboro, Alka-Seltzer, Federal Express, Cover Girl, and Nike. It also holds the records of the NW Ayer Advertising Agency and business papers from Krispy Kreme Doughnuts, Carvel Ice Cream, and other companies. The Warshaw Collection of Business Americana comprises thousands of trade cards, catalogs, labels, and other business papers and images dating back to the late 1700s.

Beyond advertising campaigns, the collections encompass thousands of examples of packaging, catalogs, and other literature from many crafts and trades, from engineering to hat making. The collections also contain an eclectic array of advertising objects, such as wooden cigar-store Indians, neon signs, and political campaign ads.

Custer’s Last Fight is considered one of if not the most reproduced lithographs of the late 19th and most of the 20th Centuries with over a million copies distributed to saloons, dining establishments, barber shops, and eventually collectors.
Description
Custer’s Last Fight is considered one of if not the most reproduced lithographs of the late 19th and most of the 20th Centuries with over a million copies distributed to saloons, dining establishments, barber shops, and eventually collectors. This print was used as an advertising promotion for Budweiser Beer by Anheuser Busch. It is chromolithograph on paper mounted on cardboard that is based on the Cassilly Adams painting which in turn was inspired by the narrative of the battle by a scout named Curley, along with probably the success of the John Mulvany 1881 painting Custer’s Last Fight .
The Cassilly Adams painting that this print copied was started about 1885 and completed in 1888 in Adams studio using soldiers and Native Americans as models. The completed work toured the Midwest before being sold to John Ferber, who owned a saloon in St Louis, Missouri. Adolphus Busch acquired the painting along with a saloon when the owner couldn't pay his bills for the sum of $35,000 in 1892. Eager to have the original copied for advertising, he commissioned the Milwaukee Lithographic Engraving Company. The artist, F. Otto Becker, produced a 24X40 inch painting which was a modified copy of the Cassilly Adams painting. After the Becker copy was made, the original Adams painting was presented to the 7th Cavalry it was moved about until it was damaged. It was then sent to the WPA in Boston for restoration in the 1930's and when returned, it hung in the officer's club at Fort Bliss, Texas until it was destroyed by fire on June 13, 1946.
The 1892 Becker painting was created only to be divided into six sections and given to the lithographers to create the color plates used to produce the 1896 chromolithographic advertising prints. The Becker painting was then pieced back together and restored to hang in the St. Louis board room of Anheuser-Busch, Incorporated.
Based on photographs of the Adams original, the Becker version is more topographically correct but also more graphically explicit as an interpretation of the very violent event. The color print depicts the battle between General Custer's troops and Indian warriors at Little Big Horn. Custer is featured at center waving a saber and dressed in a fringed buckskin. The remaining cavalry officers, except for Custer's brother Tom, are dressed in military uniform. Indians are armed with scalping knives, tomahawks, clubs, spears, and rifles. The dead appear in foreground, with several identified in the bottom margin. The background depicts a peaceful landscape, though there is a hint of the thousands of Indians that significantly outnumbered Custer and his men. Custer's medals and banners are depicted in lower left margin. In the lower right margin is an image of a Native American on horseback posing beside the granite monument for the 7th US Cavalry that was erected in 1881 at the Little Bighorn Battlefield. Text below the image advertises the Anheuser-Busch Brewing Assn.
There have been numerous commentaries on the historic inaccuracies of the depiction which was designed for maximum emotional impact. These inaccuracies range from the length of Custer’s hair which is depicted as long and flowing, when he had days prior had it cut short, to the dress or undress of the depicted Indians and the types of weapons. The artist also included a long red cravat around Custer’s neck, which was mentioned by Libby Custer in her book on her husband. The visual impact of the print version has also been the subject of several notable comments, including this print’s collector, Harry T. Peters, who mentioned in America on Stone that “The detail is endless and extremely lurid, and anyone who saw this print when young will not forget it.” Clearly the artist was successful in gaining reactions to the piece, if not always favorable ones.
Versions of the advertising print vary according to margin size and legend content, but the first run edition resulted in 15,000 prints. According to America on Stone the museum’s copy should have a signature of "O. Becker" in the right lower corner, but it does not. Nor does it have the caption "Taken from the Artist's Sketches. The Original Painting by Cassilly Adams." Supposedly that would indicate it as the earliest edition. Other versions of this print also give a fuller list of those depicted on the image and some further advertise Anheuser Busch as "The World's Largest Brewery" and "Home of Budweiser." However, based on the collector’s purchasing and the condition of the print it would have been produced between 1896 and 1920. There have since been 18 subsequent editions totaling more than a million copies according to Anheuser-Busch. Copies continued to be issued until the 1970's when the cultural awareness of Native Americans began to affect the marketability of the print. New copies of the print are still mass produced and marketed.
Cassilly Adams (1843-1921) was an engraver and painter. He learned to paint at the Boston Academy of Arts and the Cincinnati Art School and later worked in Indiana, Ohio, and St. Louis, Missouri.
F. Otto Becker (1854-1945) was a German American Artist employed by the Milwaukee Lithographic and Engraving Company. He was active in Milwaukee and St. Louis from 1881 until his death, producing lithographs for board games as well as prints. He is best known for his work on Custer's Last Fight.
Milwaukee Lithographing was founded by German-American Henry Seifert in 1852. In the 1870's, he partnered with Henry and Julius Gugler to form the Milwaukee Lithographic & Engraving Company. Augustus Koenig, a friend of Adolphus Busch, became involved with the company in the late 1880's. The company continued to operate until 1920.
Location
Currently not on view
Date made
1896-1920
depicted
Custer, Thomas Ward
Rain In The Face
Cooke, William W.
Yates, George W.
Reed, Harry Armstrong
Reily, William Van W.
Smith, Algernon E.
Custer, George Armstrong
copyright holder
Busch, Adolphus
commissioned by
Anheuser-Busch Companies, Incorporated
originator
Adams, Cassily
maker
Milwaukee Lithographic & Engraving Company
artist
Becker, F. Otto
ID Number
DL.60.2600
catalog number
60.2600
accession number
228146
This colored poster print is a bust portrait of an American Indian woman, depicted on the image of a large arrowhead.
Description
This colored poster print is a bust portrait of an American Indian woman, depicted on the image of a large arrowhead. She is identified as "’Arrowhead,’ Belle of the Tribe.”
Buffalo Bill's Wild West was one of the most successful American variety shows of the late nineteenth and early twentieth centuries. The touring production was created by William Frederick "Buffalo Bill" Cody (1846-1917), who promoted his ventures with the help of posters, billboards and other media innovations of the time. Cody was born in Le Claire, Iowa Territory, and lived in Canada before moving with his family to the Kansas Territory. His father was an outspoken opponent of slavery who died following a bloody attack by pro-slavery settlers when Cody was eleven years old. Forced to go to work to support his mother and siblings, he went on to become a buffalo hunter, guide and civilian scout and soon gained a reputation as a daring frontiersman and Indian fighter.
Nicknamed Buffalo Bill, Cody polished that reputation recounting campfire tales that mingled fact, exaggeration and outright fiction. His growing fame inspired a series of dime novels and helped launch Cody on a traveling stage career as the star of frontier melodramas. He had a natural gift for showmanship, a knack for homespun humor, and a western hero’s rugged good looks: he was often photographed holding a rifle and dressed in a buckskin suit with a wide brimmed hat and shoulder length hair. Hoping to expand his appeal to attract more middle-class family audiences, Cody launched his Buffalo Bill's Wild West in 1883. The outdoor variety show featured vignettes from frontier history, sharp shooting demonstrations, and riding stunts, with Buffalo Bill in a starring role as the expert marksman on horseback. He rounded out the cast with an ever widening and more diverse group of performers, including Lakota Sioux Indians, frontier cowboys, Mexican vacqueros, and Argentine gauchos. He added a female performer in 1885—sharpshooter Annie Oakley (born Phoebe Ann Mosey, 1860-1926)— who was so skilled with a gun that she could shoot a dime from between her husband’s thumb and forefinger. After the show expanded to become Buffalo Bill’s Wild West and Congress of Rough Riders in 1893, it also featured European cavalry, Cossacks and Arab horsemen.
The Wild West show toured throughout the United States and Europe. Its success was fueled by popular nostalgia for America’s fading frontier. But the show also flourished as America modernized, relying on train travel and new technologies like electric lighting to reach and entertain audiences. Cody inspired a host of imitators, whose productions were often referred to simply as Buffalo Bill shows.
By the early twentieth century, Buffalo Bill’s heroic image had been tarnished by a scandalous divorce trial, and his show faced growing competition from the fledgling film industry. In 1909 he merged with a former rival, Gordon William Lillie, to create Buffalo Bill’s Wild West and Pawnee Bill’s Great Far East. The Great Far East Show was an ensemble group founded by Gordon William Lillie (1860-1942), nicknamed Pawnee Bill. Born in Illinois, Lillie had worked for the Pawnee Indian Agency and also served as a Pawnee interpreter for Buffalo Bill's Wild West. The combined production, sometimes called the “Two Bills Show,” featured traditional frontier acts with more exotic attractions like elephants, camels, and belly dancers. Mounting debt and a series of bad investments eventually forced Buffalo Bill to declare bankruptcy and shut down the show in 1915. When he died in 1917 in Denver, Colorado, his passing was noted by prominent figures ranging from European royalty to U.S. President Woodrow Wilson. The town of Cody, Wyoming, which he helped found in 1896, is the site of a museum complex called the Buffalo Bill Center of the West.
This chromolithograph was produced by Strobridge Lithographing Company. The Strobridge firm was founded in Cincinnati, Ohio ca 1847 by lithographer Elijah J. Middleton (cited in some sources as Elijah C. Middleton). Middleton was known as one of the pioneers of chromolithography in the United States. By 1854 another lithographer, W. R. Wallace, along with the bookseller Hines Strobridge (1823-1909) had joined the firm as partners. After the Civil War, Strobridge acquired sole ownership of the company and renamed it after himself. Strobridge and Company became especially well known for circus, theater, and movie posters. After leaving the company, Elijah Middleton established a reputation as a portrait publisher, producing prints of George and Martha Washington, Daniel Webster, and other American historical figures.
Location
Currently not on view
Date made
1908
maker
Strobridge Lithographing Company
ID Number
DL.60.3004
catalog number
60.3004
Colored print advertising "Gold" a soap made by Schultz & Co. There are two oval vignettes; one depicts a prospector seated on a rock. The other depicts a woman holding a bar of soap and a gold coin, standing at a washtub that is on two boxes of soap.
Description (Brief)
Colored print advertising "Gold" a soap made by Schultz & Co. There are two oval vignettes; one depicts a prospector seated on a rock. The other depicts a woman holding a bar of soap and a gold coin, standing at a washtub that is on two boxes of soap. Two children are at her feet.
Location
Currently not on view
Date made
n.d.
maker
unknown
ID Number
DL.60.3075
catalog number
60.3075
accession number
228146
Color advertising print of a fashionably dressed couple being waited on by two small Indians. The Indians wear gold-trimmed dresses with sunflower-shaped collars and ankle bands.
Description (Brief)
Color advertising print of a fashionably dressed couple being waited on by two small Indians. The Indians wear gold-trimmed dresses with sunflower-shaped collars and ankle bands. Testimonial text beneath the image ends with the statement that "These wonderful Children are on exhibition every day and evening at BARNUM's AMERICAN MUSEUM..."
Location
Currently not on view
Date made
n.d.
advertiser
Barnum Museum
maker
Currier & Ives
ID Number
DL.60.3491
catalog number
60.3491
This cigar store Indian was used as an advertisement for D. F. Saylor’s Pennsylvania tobacco shop during the late 19th and early 20th century. The Indian holds a bundle of cigars in one hand and a tobacco leaf in the other.
Description
This cigar store Indian was used as an advertisement for D. F. Saylor’s Pennsylvania tobacco shop during the late 19th and early 20th century. The Indian holds a bundle of cigars in one hand and a tobacco leaf in the other. He stands on a four-sided pedestal that has writing on each side: “145/D. F. Saylor/Cigars, Tobacco, Candy”—“Smoke/50-50/Cigar”—“El Wadora/5¢/Cigar” and “Thank You! Call Again.” The pedestal also advertises a shoe shine. Indians were associated with tobacco since they introduced it to Europeans, and advertisers played upon these stereotypes to hawk their wares to illiterate consumers.
ID Number
CL.65.0993
catalog number
65.0993
accession number
256396
Currently not on view
Location
Currently not on view
date made
ca 1850
maker
Cromwell, John L.
ID Number
CL.272624.01
accession number
272624
catalog number
272624.01
Purple posterboard with painted advertisement for mutoscope motion picture "Western Courage" with painted representations of Native American crafts. Two attached photographs are stills from the film showing Native Americans dancing by a teepee and a white man tied to a tree.
Description (Brief)
Purple posterboard with painted advertisement for mutoscope motion picture "Western Courage" with painted representations of Native American crafts. Two attached photographs are stills from the film showing Native Americans dancing by a teepee and a white man tied to a tree. By the turn of the century, American cultural commentators were bemoaning the closing of the nation's western frontier, and Native Americans became frequent features in motion pictures which depicted the old West. Tribal customs were reduced to stereotypical "Indian" character behavior in films such as this one, where Native Americans are depicted as simplistic and hostile to white settlers.
Description
The Mutoscope Collection in the National Museum of American History’s Photographic History Collection is among the most significant of its kind in any museum. Composed of 3 cameras, 13 viewers, 59 movie reels and 53 movie posters, the collection documents the early years of the most successful and influential motion picture company of the industry’s formative period. It also showcases a unique style of movie exhibition that outlasted its early competitors, existing well into the 20th century.
The American Mutoscope Company was founded in 1895 by a group of four men, Elias Koopman, Herman Casler, Henry Marvin and William Kennedy Laurie Dickson, to manufacture a motion picture viewer called the mutoscope and to produce films for exhibition. Dickson had recently left the employ of Thomas Edison, for whom he had solved the problem of “doing for the eye what the phonograph does for the ear” by inventing the modern motion picture. Casler and Dickson worked together to perfect the mutoscope, which exhibited films transferred to a series of cards mounted in the style of a flip book on a metal core, and avoided Edison’s patents with this slightly different style of exhibition. The company’s headquarters in New York City featured a rooftop studio on a turntable to ensure favorable illumination, and the short subjects made here found such success that by 1897, the Edison company’s dominance of the industry was in danger. American Mutoscope became American Mutoscope & Biograph in 1899, when the namesake projector, invented by Casler, became the most used in the industry.
Mutoscope viewers were found in many amusement areas and arcades until at least the 1960s. Their inexpensiveness and short, often comical or sensational subjects allowed the machines a far longer life than the competing Edison Kinetoscope. The company also found success in its production and projection of motion pictures, though its activity was mired by patent litigation involving Thomas Edison through the 1910s. The notable director D. W. Griffith was first hired as an actor, working with pioneering cinematographer G. W. “Billy” Bitzer, before moving behind the camera at Biograph and making 450 films for the company.
Griffith and Bitzer invented cinematographic techniques like the fade-out and iris shot, made the first film in Hollywood and launched the careers of early stars Mary Pickford and Lillian Gish. The company, simply renamed the Biograph Company in 1909, went out of business in 1928 after losing Griffith and facing a changing movie industry.
The Museum’s collection was acquired in the years between 1926 and the mid-1970s. The original mutograph camera and two later models of the camera were given to the Smithsonian in 1926 by the International Mutoscope Reel Company, which inherited Biograph’s mutoscope works and continued making the viewers and reels through the 1940s. The viewers, reels and posters in the collection were acquired for exhibition in the National Museum of American History, and were later accessioned as objects in the Photographic History Collection. Many of the mutoscope reels in the collection date to the period from 1896-1905, and show early motion picture subjects, some of which were thought to be lost films before their examination in 2008.
Location
Currently not on view
ID Number
2008.0095.011
accession number
2008.0095
catalog number
2008.0095.011
Blue posterboard with painted advertisement for the mutoscope motion picture "Broncho Busters & Indian Warriors!!" The poster includes an attached photograph depicting a scene from the movie, in which Native American horsemen ride before an assembled crowd at a parade ground.
Description (Brief)
Blue posterboard with painted advertisement for the mutoscope motion picture "Broncho Busters & Indian Warriors!!" The poster includes an attached photograph depicting a scene from the movie, in which Native American horsemen ride before an assembled crowd at a parade ground. Wild West shows like that of Buffalo Bill Cody were familiar spectacles to most Americans in the early 20th century. Wild West show companies, often composed of Native Americans, cowboy actors, and a variety of animals, toured the country as did circuses, playing to large crowds eager to catch a glimpse of the nation's disappearing frontier culture. This mutoscope movie poster proves that even filmed versions of such shows found a popular audience.
Description
The Mutoscope Collection in the National Museum of American History’s Photographic History Collection is among the most significant of its kind in any museum. Composed of 3 cameras, 13 viewers, 59 movie reels and 53 movie posters, the collection documents the early years of the most successful and influential motion picture company of the industry’s formative period. It also showcases a unique style of movie exhibition that outlasted its early competitors, existing well into the 20th century.
The American Mutoscope Company was founded in 1895 by a group of four men, Elias Koopman, Herman Casler, Henry Marvin and William Kennedy Laurie Dickson, to manufacture a motion picture viewer called the mutoscope and to produce films for exhibition. Dickson had recently left the employ of Thomas Edison, for whom he had solved the problem of “doing for the eye what the phonograph does for the ear” by inventing the modern motion picture. Casler and Dickson worked together to perfect the mutoscope, which exhibited films transferred to a series of cards mounted in the style of a flip book on a metal core, and avoided Edison’s patents with this slightly different style of exhibition. The company’s headquarters in New York City featured a rooftop studio on a turntable to ensure favorable illumination, and the short subjects made here found such success that by 1897, the Edison company’s dominance of the industry was in danger. American Mutoscope became American Mutoscope & Biograph in 1899, when the namesake projector, invented by Casler, became the most used in the industry.
Mutoscope viewers were found in many amusement areas and arcades until at least the 1960s. Their inexpensiveness and short, often comical or sensational subjects allowed the machines a far longer life than the competing Edison Kinetoscope. The company also found success in its production and projection of motion pictures, though its activity was mired by patent litigation involving Thomas Edison through the 1910s. The notable director D. W. Griffith was first hired as an actor, working with pioneering cinematographer G. W. “Billy” Bitzer, before moving behind the camera at Biograph and making 450 films for the company.
Griffith and Bitzer invented cinematographic techniques like the fade-out and iris shot, made the first film in Hollywood and launched the careers of early stars Mary Pickford and Lillian Gish. The company, simply renamed the Biograph Company in 1909, went out of business in 1928 after losing Griffith and facing a changing movie industry.
The Museum’s collection was acquired in the years between 1926 and the mid-1970s. The original mutograph camera and two later models of the camera were given to the Smithsonian in 1926 by the International Mutoscope Reel Company, which inherited Biograph’s mutoscope works and continued making the viewers and reels through the 1940s. The viewers, reels and posters in the collection were acquired for exhibition in the National Museum of American History, and were later accessioned as objects in the Photographic History Collection. Many of the mutoscope reels in the collection date to the period from 1896-1905, and show early motion picture subjects, some of which were thought to be lost films before their examination in 2008.
Location
Currently not on view
ID Number
2008.0095.012
accession number
2008.0095
catalog number
2008.0095.012
Posterboard with pre-printed design and painted advertisement for the mutoscope motion picture "The Stage at Coyote Holes" - starring Wally Wales.
Description (Brief)
Posterboard with pre-printed design and painted advertisement for the mutoscope motion picture "The Stage at Coyote Holes" - starring Wally Wales. An attached photograph depicts a scene from the movie in which a man threatens a Native American with a revolver in an "Old West" town. The Western film genre is almost as old as the motion picture itself; Edwin S. Porter's 1902 film "The Great Train Robbery" is often considered the first narrative motion picture, and it also gave birth to the Western genre. The motion picture advertised on this poster stars Wally Wales (born Hal Taliaferro), an actor who appeared in over 200 films and usually played a cowboy or prospector in low-budget "B" Westerns. By the 1920s, when this poster was made, Western films were highly popular among American audiences and stars like Wally Wales could attract audiences who were familiar with their past performances.
Description
The Mutoscope Collection in the National Museum of American History’s Photographic History Collection is among the most significant of its kind in any museum. Composed of 3 cameras, 13 viewers, 59 movie reels and 53 movie posters, the collection documents the early years of the most successful and influential motion picture company of the industry’s formative period. It also showcases a unique style of movie exhibition that outlasted its early competitors, existing well into the 20th century.
The American Mutoscope Company was founded in 1895 by a group of four men, Elias Koopman, Herman Casler, Henry Marvin and William Kennedy Laurie Dickson, to manufacture a motion picture viewer called the mutoscope and to produce films for exhibition. Dickson had recently left the employ of Thomas Edison, for whom he had solved the problem of “doing for the eye what the phonograph does for the ear” by inventing the modern motion picture. Casler and Dickson worked together to perfect the mutoscope, which exhibited films transferred to a series of cards mounted in the style of a flip book on a metal core, and avoided Edison’s patents with this slightly different style of exhibition. The company’s headquarters in New York City featured a rooftop studio on a turntable to ensure favorable illumination, and the short subjects made here found such success that by 1897, the Edison company’s dominance of the industry was in danger. American Mutoscope became American Mutoscope & Biograph in 1899, when the namesake projector, invented by Casler, became the most used in the industry.
Mutoscope viewers were found in many amusement areas and arcades until at least the 1960s. Their inexpensiveness and short, often comical or sensational subjects allowed the machines a far longer life than the competing Edison Kinetoscope. The company also found success in its production and projection of motion pictures, though its activity was mired by patent litigation involving Thomas Edison through the 1910s. The notable director D. W. Griffith was first hired as an actor, working with pioneering cinematographer G. W. “Billy” Bitzer, before moving behind the camera at Biograph and making 450 films for the company.
Griffith and Bitzer invented cinematographic techniques like the fade-out and iris shot, made the first film in Hollywood and launched the careers of early stars Mary Pickford and Lillian Gish. The company, simply renamed the Biograph Company in 1909, went out of business in 1928 after losing Griffith and facing a changing movie industry.
The Museum’s collection was acquired in the years between 1926 and the mid-1970s. The original mutograph camera and two later models of the camera were given to the Smithsonian in 1926 by the International Mutoscope Reel Company, which inherited Biograph’s mutoscope works and continued making the viewers and reels through the 1940s. The viewers, reels and posters in the collection were acquired for exhibition in the National Museum of American History, and were later accessioned as objects in the Photographic History Collection. Many of the mutoscope reels in the collection date to the period from 1896-1905, and show early motion picture subjects, some of which were thought to be lost films before their examination in 2008.
date made
ca 1928
depicted
Wales, Wally
ID Number
2008.0095.009
accession number
2008.0095
catalog number
2008.0095.009
Currently not on view
Location
Currently not on view
user
Santa Fe Railway
publisher
Indian Detour Transportation Company
Indian Detour Transportation Company
ID Number
1991.3127.09
catalog number
1991.3127.09
nonaccession number
1991.3127
Currently not on view
Location
Currently not on view
Date made
1992
user
Santa Fe Railroad
maker
Smithsonian Institution Office of Exhibits Central
ID Number
1992.3126.67
catalog number
1992.3126.67
nonaccession number
1992.3126
Currently not on view
Location
Currently not on view
Date made
1992
user
Santa Fe Railroad
maker
Smithsonian Institution Office of Exhibits Central
ID Number
1992.3126.66
catalog number
1992.3126.66
nonaccession number
1992.3126
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Dutchess County Insurance Company of Poughkeepsie, New York issued this cast iron fire mark in 1814. The circular mark has a nail hanger at the top, a raised profile image of a Native American wearing a headdress, with the raised initials “DFMLC” around the bottom. The Dutchess County Insurance Company operated from 1814 until around 1828. The initials “F M L” refer to the types of insurance written by the company, “Fire, Marine and Life.”
Location
Currently not on view
date made
1814
maker
unknown
ID Number
2005.0233.0551
accession number
2005.0233
catalog number
2005.0233.0551

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